Aesthetic Value in Classical Antiquity by Professor Ineke Sluiter, Ralph M Rosen

By Professor Ineke Sluiter, Ralph M Rosen

How do humans reply to and overview their sensory stories of the average and man-made global? What does it suggest to talk of the ‘value’ of aesthetic phenomena? And in comparing human arts and artifacts, what are the factors for achievement or failure?

The 6th in a sequence exploring ‘ancient values’, this e-book investigates from various views aesthetic worth in classical antiquity. The essays discover not just the evaluative recommendations and phrases utilized to the humanities, but additionally the social and cultural ideologies of aesthetic price itself. Seventeen chapters diversity from the ‘life with out the Muses’ to ‘the Sublime’, and from philosophical perspectives to middle-brow and renowned aesthetics.

Aesthetic worth in classical antiquity can be of curiosity to classicists, cultural and artwork historians, and philosophers.

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1. While Rusten 1985, 17 is right to say that this and nearby claims need not apply to every individual Athenian, he is wrong, in my view, to argue that Pericles is characterizing separate kinds of ‘lives’: rather, he is simply generalizing about Athenian values. 56 However much Aristophanes may elsewhere exploit the ambiguities arising from ideas of amousia, and however much the real Cleon may himself have manipulated such issues for his own populist politics, the satirical priorities of Knights unmistakably show that Aristophanic comedy retains the right to tarnish others with accusations of amousia.

Gedenkschrift Paul Kretschmer, vol. 1. Vienna, 1956, 61–69. , Aeschylus Oresteia. Oxford, 2002. J. and J. ), Euripides Selected Fragmentary Plays Volume II. With introductions, translations, and commentaries. Warminster, 2004. J. H. ), Euripides Selected Fragmentary Plays Volume I. With introductions, translations, and commentaries. Warminster, 1995. , ‘The Men who Built the Theatres: theatropolai, theatronai, and arkhitektones’, in: P. ), The Greek Theatre and Festivals: Documentary Studies. Oxford, 2007, 87–121.

Ran. 47 There are, for sure, other ways of weighing up the conflicting attitudes to poetry displayed by Heracles and Dionysus. One might perhaps, for instance, see Heracles as less of a philistine than I take him to be, and Dionysus as correspondingly more eccentric (or undiscerning) in the strength of his passion for Euripides. But however one positions the two characters on the spectrum that runs from the sensitivity of the mousikos to the uncouth (and/or insouciant) insensitivity of the amousos, it is clear that Aristophanes turns the scene into a vignette of the possibility of radical disagreement over the importance of poetic-cum-aesthetic value to life.

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